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David Nolan Gallery’s exhibition “Alice in the Land of Violence” brings 31 works by Valerio Adami to its new Tribeca space, marking his first New York exhibition in more than 20 years. Most works date from 1962 to 1967; the show also includes “Hotel Pulitzer,” completed this year when Adami was 91.
Italian artist Valerio Adami is the subject of “Alice in the Land of Violence,” an exhibition at David Nolan Gallery in its new Tribeca space. The show is his first in New York in more than 20 years and brings together 16 paintings and 15 drawings, mostly made between 1962 and 1967, alongside a painting completed this year.
The exhibition’s 31 works center on a period when Adami was developing the style that later became associated with Pop Art. His pictures pair flat, saturated color and dark outlines with distorted figures and ambiguous forms. That combination draws on several artistic traditions, rather than fitting neatly into one movement, according to the Hyperallergic review.
Among the works identified in the report are Auto-lavaggio (Car Wash) (1964), made with pencil, watercolor and tempera on paper, and Blam (1962), an acrylic on canvas. The exhibition also includes Hotel Pulitzer, the sole work outside the 1962–67 date range. Adami completed it this year, at age 91; the review says it shows no loss of acuity.
The presentation opens the gallery’s new, larger Tribeca premises. The source report identifies the exhibition title and work count but does not provide a full checklist or the show’s opening and closing dates.
A Wider View of Adami’s Pop-Era Work
The New York presentation gives audiences a chance to encounter a substantial group of Adami’s early work after a gap of more than two decades between his New York exhibitions. Its emphasis on 1962–67 makes the show a focused look at how his visual language took shape during a period of major change in international art.
The review argues that describing Adami simply as a Pop artist misses the tension in the work. Clean outlines and graphic color sit alongside expressionist distortions and surreal, hybrid imagery. That friction is relevant to viewers trying to understand how artists adapted Pop’s visual vocabulary without surrendering ambiguity or psychological unease.
The inclusion of a painting completed this year also places the earlier works beside evidence of Adami’s continued practice. The show’s juxtaposition does not, by itself, establish how the new work relates to the older pieces; it does give visitors a point of comparison across several decades.
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From Milan to a Distinctive Style
Adami was born in Bologna in 1935 and graduated from art school in Milan before moving to Paris in 1955. The Hyperallergic report says he met artists Roberto Matta and Wifredo Lam there. In the late 1950s he traveled regularly, spending time in London and New York as well as South America and India.
Those travels and relationships brought him into contact with artists, writers and thinkers including Richard Hamilton, Jim Dine, Oskar Kokoschka, Jacques Derrida, Édouard Glissant and Octavio Paz, according to the report. The review connects Adami’s approach to surrealism, expressionism and Pop Art: it points to Matta’s fragmented machinery and fantastical architecture, Lam’s combinations of human and animal forms, and the saturated color and outlines associated with Pop.
Rather than treating those influences as a single formula, the review describes Adami’s method as syncretic—absorbing and transforming different visual languages. It also contrasts his ambiguous shapes and words with the onomatopoeia favored by some American Pop artists, arguing that his images resist straightforward interpretation.
“His syncretic style melds Pop Art’s cool, outlined forms with expressionism’s figural distortions, resulting in a perturbing ambiguity.”
— Hyperallergic review
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Exhibition Dates and Checklist Details
The source report does not state the exhibition’s opening or closing dates, nor does it give a complete list of the 31 works. It identifies two works from the 1960s and the recent Hotel Pulitzer, but further details about the remaining pieces are not available in the material provided.
The claim that Hotel Pulitzer shows no loss of acuity is the review’s judgment, not a measurable finding. The source also does not provide a statement from Adami or the gallery about the selection, the show’s aims, or plans for future presentations.
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Gallery Presentation and Public Dates
The exhibition is presented at David Nolan Gallery’s new Tribeca location. Readers seeking visit details should check the gallery’s current listing, since the source report does not give dates, hours, ticket information or related public programming.
No further exhibition announcements or subsequent New York dates are included in the report. The immediate next step for audiences is to see the works in person while the show is on view and consult the gallery for current access information.
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Key Questions
What is “Alice in the Land of Violence”?
It is a Valerio Adami exhibition at David Nolan Gallery’s new Tribeca premises, featuring 16 paintings and 15 drawings.
Why is this exhibition notable?
It is Adami’s first New York exhibition in more than 20 years and focuses largely on work from 1962 to 1967.
Which works are mentioned in the report?
The report names Auto-lavaggio (Car Wash) (1964), Blam (1962) and Hotel Pulitzer, which Adami completed this year.
How is Adami’s style described?
The review describes a blend of Pop Art’s outlined forms and strong colors with expressionist distortions and surreal imagery. It says the resulting shapes and words can resist a single, simple reading.
When can visitors see the exhibition?
The source report does not state the show’s dates or hours. Check David Nolan Gallery’s current listing for visitor information.
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